The 6 mallet myths presented in this series represent some of the most fundamental issues preventing 6 mallet playing from becoming more widely adopted. If you missed it be sure to catch up on part 1 here http://boyarmusicstudios.blogspot.com/2016/01/6-mallet-myths-part-1.html.
Part 2 is definitely more generalized and direct in tone than part 1. Some of this is due to time constraints on my part. Either way we continue onward...
Myth #3
Certain 6 mallet chords and passages are only possible when the hands are locked into various positions.
Locking = Lacking
This is something that many of the various methods I've studied seem to have in common. On one hand I appreciate and understand the sentiment. I've spent a great deal of time working with and studying string players. I've always loved the fact that early on they study positions and these positions serve to develop areas of the instrument that they will play in. Inspired by this, I often use positions very early on when teaching the marimba and multi percussion as a way to develop different posture/body "stances" that must occur often and be made to feel completely normal.
However, I think there is a big difference between fluid positions that serve as grounding points to shape out one's playing vs. "locked in positions" which by definition create tension and encourage a lack of freedom. Locked in positions are unnecessary and only serve as a crutch. Certainly with 6 mallets there are more moving parts and it can seem tempting to lock positions to control those moving parts but if we revisit Myth #1 http://boyarmusicstudios.blogspot.com/2016/01/6-mallet-myths-part-1.html we remember that the redistribution of weight is the ultimate answer to this problem.
Once again I point out my work "Summer In Between" to illustrate this point. At 1:42 I am playing single independent lines that require that use of the inside most mallets in both hands. In past methods, players might be inclined to lock these mallets into position in order to prevent the other mallets from flailing. However, by using a subtle redistribution of weight, you'll see that the passage is able to be performed effortlessly.
Flailing = Failing
This is basically the other side of the coin to myth #3 and like myth #3 it simply isn't true. Like any aspect of an independent grip, the middle mallet will work at it's best when it is a part of a symbiotic system. The idea that the middle mallet or any mallet in 6 mallet playing should be loose and uncontrolled again implies that unplayable absolutes are necessary to achieve anything with 6 mallets. This also indirectly implies that "locking" the other mallets into place is necessary to allow the middle mallet to flail.
Of course this doesn't mean that mallet can't have varying degrees of pressure applied depending on the demands of the music. It also doesn't mean that the middle mallet will never move and be entirely stationary. It only means that in any complete method, mallets need not constantly flail. Flailing creates an endless amount of problems including but not limited to weak voicing, unplayable passages, lack of control, and the inability to redistribute weight to name a few.
To see an example of the middle mallet being used in a controlled way check out this preview I made back in July of my new etude "Thrown Away." Although this is an older version of the piece (and the video was intentionally made with highlighting my technique the vertical throw), you'll notice that in many of the passages where I'm not using the middle mallet starting at 1:09 it remains generally controlled.
Myth #5
6 mallet playing is too cumbersome and specialized for any realistic applications.
A System Of Grace
Marimba is an inherently cumbersome instrument. However, when a true "system of grace" is applied, so much of what initially seemed impossible becomes possible. The key is to avoid all tension. Many percussionists around the world preach this idea but very few practice it. I might have fallen victim to the same circumstances had I not been fortunate enough to have a few key influences in my education.
Before I even touched a mallet instrument, one of my earliest teachers was the great drummer Joe Morello. In many ways he represents the genesis of my exploration of this. Through his approach I learned the physics behind playing without absolutely no tension. I was fortunate to have studied with Joe. His influence would stay with me for the rest of my life.
Part 2 is definitely more generalized and direct in tone than part 1. Some of this is due to time constraints on my part. Either way we continue onward...
Myth #3
Certain 6 mallet chords and passages are only possible when the hands are locked into various positions.
Locking = Lacking
This is something that many of the various methods I've studied seem to have in common. On one hand I appreciate and understand the sentiment. I've spent a great deal of time working with and studying string players. I've always loved the fact that early on they study positions and these positions serve to develop areas of the instrument that they will play in. Inspired by this, I often use positions very early on when teaching the marimba and multi percussion as a way to develop different posture/body "stances" that must occur often and be made to feel completely normal.
However, I think there is a big difference between fluid positions that serve as grounding points to shape out one's playing vs. "locked in positions" which by definition create tension and encourage a lack of freedom. Locked in positions are unnecessary and only serve as a crutch. Certainly with 6 mallets there are more moving parts and it can seem tempting to lock positions to control those moving parts but if we revisit Myth #1 http://boyarmusicstudios.blogspot.com/2016/01/6-mallet-myths-part-1.html we remember that the redistribution of weight is the ultimate answer to this problem.
Once again I point out my work "Summer In Between" to illustrate this point. At 1:42 I am playing single independent lines that require that use of the inside most mallets in both hands. In past methods, players might be inclined to lock these mallets into position in order to prevent the other mallets from flailing. However, by using a subtle redistribution of weight, you'll see that the passage is able to be performed effortlessly.
No mallets need to be locked into place at 1:42 to perform these single independent lines.
Myth #4
There is no way to control the middle mallet. It must always flail loosely.Flailing = Failing
This is basically the other side of the coin to myth #3 and like myth #3 it simply isn't true. Like any aspect of an independent grip, the middle mallet will work at it's best when it is a part of a symbiotic system. The idea that the middle mallet or any mallet in 6 mallet playing should be loose and uncontrolled again implies that unplayable absolutes are necessary to achieve anything with 6 mallets. This also indirectly implies that "locking" the other mallets into place is necessary to allow the middle mallet to flail.
Of course this doesn't mean that mallet can't have varying degrees of pressure applied depending on the demands of the music. It also doesn't mean that the middle mallet will never move and be entirely stationary. It only means that in any complete method, mallets need not constantly flail. Flailing creates an endless amount of problems including but not limited to weak voicing, unplayable passages, lack of control, and the inability to redistribute weight to name a few.
To see an example of the middle mallet being used in a controlled way check out this preview I made back in July of my new etude "Thrown Away." Although this is an older version of the piece (and the video was intentionally made with highlighting my technique the vertical throw), you'll notice that in many of the passages where I'm not using the middle mallet starting at 1:09 it remains generally controlled.
At 1:09 the middle mallet isn't being used in either hand yet it remains controlled without excessive flailing while the other mallets are in use.
Myth #5
6 mallet playing is too cumbersome and specialized for any realistic applications.
A System Of Grace
Marimba is an inherently cumbersome instrument. However, when a true "system of grace" is applied, so much of what initially seemed impossible becomes possible. The key is to avoid all tension. Many percussionists around the world preach this idea but very few practice it. I might have fallen victim to the same circumstances had I not been fortunate enough to have a few key influences in my education.
Before I even touched a mallet instrument, one of my earliest teachers was the great drummer Joe Morello. In many ways he represents the genesis of my exploration of this. Through his approach I learned the physics behind playing without absolutely no tension. I was fortunate to have studied with Joe. His influence would stay with me for the rest of my life.
Joe Morello's approach changed the way I play forever.
Additionally, some of the most productive lessons I ever had took place when I graduated from Juilliard. Upon graduation, one of my first projects was to commission the composer Andrew Thomas to write a new work for me. I showed him some of the ideas I had and he brought me "Valse Triste." I found the work to be nearly impossible. Andy suggested that my issue was not in my inability to play his work but rather, it was rooted in my fundamental relationship to the instrument. He suggested I take a few lessons with Juilliard dance faculty member Stephen Pier. Stephen was excellent. He immediately worked on my posture and sought to remove any areas where I was obstructing the natural flow of energy. This allowed me to create a paradigm in my playing where I was able to roll with the momentum I generated rather than work against it (or fight to control it). My approach was never the same again.
As I developed my 6 mallet method I would constantly refer back to these lessons and the fundamental ideas I had learned. Although the solutions to the current problems with 6 mallet playing weren't always readily apparent, my past studies had clearly prepared me well for the kind of problem solving I would need to explore.
My work with Joe Morello, Andrew Thomas, and Stephen Pier showed me that there are always ways to properly channel the flow of energy when the sometimes cumbersome nature of percussion rears it's ugly head. Morello taught me how to create a system using physics in which the rebound of the stick and the drum do all of the work. Andy and Stephen showed me how develop a system of grace to work with the natural momentum generated rather than work against it. Clearly the solutions required to mold 6 mallet playing into something more practical were not directly implanted from these ideas but the foundation and "way of thinking" was there.
So many 6 mallet approaches that exist today rely on obstructing the flow of energy to achieve security. The opposite is true. One must develop a "system of grace" to create a paradigm where the weight of the mallets is no longer an issue. Once this takes place a natural flow of energy is created and the impossible becomes possible. When done this way, 6 mallet playing is NEVER too cumbersome for any realistic applications.
Valse Trise by Andrew Thomas taught me a lot about working with momentum rather than against it.
As I developed my 6 mallet method I would constantly refer back to these lessons and the fundamental ideas I had learned. Although the solutions to the current problems with 6 mallet playing weren't always readily apparent, my past studies had clearly prepared me well for the kind of problem solving I would need to explore.
My work with Joe Morello, Andrew Thomas, and Stephen Pier showed me that there are always ways to properly channel the flow of energy when the sometimes cumbersome nature of percussion rears it's ugly head. Morello taught me how to create a system using physics in which the rebound of the stick and the drum do all of the work. Andy and Stephen showed me how develop a system of grace to work with the natural momentum generated rather than work against it. Clearly the solutions required to mold 6 mallet playing into something more practical were not directly implanted from these ideas but the foundation and "way of thinking" was there.
So many 6 mallet approaches that exist today rely on obstructing the flow of energy to achieve security. The opposite is true. One must develop a "system of grace" to create a paradigm where the weight of the mallets is no longer an issue. Once this takes place a natural flow of energy is created and the impossible becomes possible. When done this way, 6 mallet playing is NEVER too cumbersome for any realistic applications.
Myth #6
There are things that just aren't possible with 6 mallets.Just Saying...
This is really more of a philosophical point. Hopefully, the previous 5 examples have served to dismiss this idea. As I've pointed out again and again, any truly evolutionary technique needs to be 100% applicable to past, current, and new music. Otherwise, the limitations created will discourage the development of any meaningful progress. The Boyar Method for 6 mallets seeks to solve these problems and make the impossible possible. In doing so, I hope to reinvigorate progress into the world of mallet keyboard percussion.
My next post will begin the process of breaking down The Boyar Method starting with the basics.
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